When Bob Koester started selling old jazz and blues recordings scrounged from second-hand stores out of a box in his college dormitory back in the early 1950s I doubt he would have believed it you if you told him that years later he would not only still be selling records, but would also be the owner of one of the oldest independent record labels in the United States. After all, his love of jazz and blues notwithstanding, his ambition was to become a cinematographer not a record producer. Yet somehow those boxes under the bed turned into Delmark Records, arguably one of the most influential jazz and blues labels in North America. (For a detailed account of Delmark and Koester's history read parts one and two of an interview I conducted with him about a year ago.)
Through buying up the back catalogs of defunct jazz and blues labels and lovingly restoring recordings from their master tapes (and in some cases the piano rolls of player pianos), Delmark has created a catalog of recordings that traces the as far back as the 1920s and through myriad changes in style. Even in their early years, though, the company was just as concerned with recording contemporary performers as with reissues and have continually searched out talented and innovative artists indiscriminate of style or age. There aren't many labels who can boast issuing current recordings of Dixieland jazz and releases by members of Chicago's avant-garde jazz community at the same time, but with Delmark you never know what treasures they have in store for you.
I've seen and heard everything from a German traditional jazz band featuring a washboard player performing at an Ace Hardware in downtown Chicago (it had originally been a jazz club in the 1920s where people like Louis Armstrong had played) to stuff so experimental I doubt I'll ever understand it, but that left me strangely moved anyway. Delmark's blues catalog is just as diverse and includes everything from barrelhouse piano, country blues from Texas, Alabama, Mississippi, and Tennessee, to live recordings from the stages and floors of Chicago's blues clubs where Buddy Guy still plays and Little Walter once stood.
Even more remarkable is the role that Delmark, and Koester, have played in ensuring the future of blues recordings. Not only did they help establish the Chicago Blues Festival and continue to record blues artists of all stripes either live or in the studio, they have been the training ground for those who have gone on to found important blues labels like Alligator, Earwig, and Rooster Blues. For those of you like me who've not been able to see the inside of a Chicago blues club, Delmark's DVD recordings of gigs around the town have brought the blues alive in a way that no other label has. Entering into a neighborhood bar like B.L.U.E.S. through a camera lens is the next best thing to actually being there to watch Jimmy Burns and his band sweat their way through a riveting set of high energy, electric blues.
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